Frankie Welch Americana Fashion Specialist The majority of her scarves are based on eight-inch square modules, usually repeated four to eight times to create a rectangular scarf. She explained, “I design in the module, like Frank Lloyd Wright.” This approach created a contemporary look and allowed for efficient production. Ashley Callahan rankie Welch is one of America’s great scarf designers. Like Tammis Keefe and Vera Neumann before her, she created colorful and popular F textiles, but instead of cute mid-century imagery or bold 1960s patterns, she drew upon the political themes and corporate identities so iconic of the United States in the 1970s and 1980s. Welch loved incorporating historical elements in her designs as well, ranging from Native American jewelry patterns to architectural details from the White House ceiling, developing a strong Americana motif in her work. A remarkable businesswoman, Welch identified a profitable niche market—custom scarves—and met customer demand with a professional ambition wrapped in a distinctly Southern graciousness. Frankie Welch was born Mary Frances Barnett in Rome, Georgia. She enjoyed fashion as a youth and had a natural talent for selecting and coordinating outfits. She studied clothing and design at Furman University in Greenville, South Carolina, married her childhood sweetheart William C. Welch (1921-1975) during World War II and taught elementary school early in her career. When her husband Bill’s graduate studies took them to the University of Wisconsin, she hoped to study with Frank Lloyd Wright, who had a home near Madison, but was told he would not take female students.1 She did, however, often observe him through her window walking down the street—“His clothes were wonderful—a gray herringbone suit, a beige and chocolate brown cape. He dressed perfectly for his size and image.”2 She also purchased yards of fabrics designed by Wright for use in her home and heard him lecture many times.3 In 1952 the family (they now had one young daughter, Peggy, and a few years later had a second, Genie) moved to Alexandria, Virginia, where Bill worked first with the CIA, then as a congressional aide and then with the Veterans Administration. Frankie led seminars for politicians’ wives and other groups on AMERICAN FREEDOM TRAIN SCARF of Qiana; 86.4 x 20.3 centimeters, 1976. Private 26 ORNAMENT 35.1.2011 collection. Photographs by Ashley Callahan, except where noted. 34_FrankieWelch2_CBJD.indd 26 10/17/11 11:30 AM how to select and coordinate clothing, offered private consultation and personal shopping services, and taught home economics at local schools and colleges. On September 12, 1963 she opened a shop of her own, called Frankie Welch of Virginia, in Old Town Alexandria in the historic Duvall House (where the city once hosted a reception for George Washington). For the first eight years the family lived upstairs in the three-story home, so she was nearby when they needed her. The shop carried attractive, practical, classic clothes and accessories by designers such as Geoffrey Beene, Tina Leser, Halston, Adele Simpson, Mollie Parnis, and Oscar de la Renta, as well as AMERICAN REVOLUTION BICENTENNIAL affordable, tasteful apparel without designer ADMINISTRATION DISPLAY with a woman wearing labels. Welch decorated the shop with an a Thirteen Original States pattern Frankie dress, inviting combination of antiques, Native 1976. Unidentified photographer (first name Stephen), Frankie Welch Collection, Rome Area American baskets, and stylish splashes such as History Museum. a hot pink fabric by Jack Lenor Larsen.4 Her REAGAN TIE (detail), for Ronald Reagan and scarves figured prominently in the décor, George Bush of polyester; 139.7 x 8.9 centimeters, including in the entrance hall, which at one 1980. Frankie Welch collection, Courtesy of time was covered with over five hundred scarves Hargrett Rare Book and Manuscript Library/ University of Georgia Libraries. with her Cherokee Alphabet design.5 Welch provided a welcoming setting and candid, discrete fashion advice. She kept confidential note cards recording sizes and prior purchases of her clients so that she could help them select new items that would fit doll-like pattern that Welch designed in 1960 and would complement what they already in order to illustrate various waistline owned. Customers included Betty Ford treatments for a class she taught. The design (who sometimes modeled for Welch), Susan quickly became a staple of her inventory and Goldwater (wife of Representative Barry eventually sold nationally. Frankies could Goldwater, Jr.), Nancy Thurmond (wife of be worn at least eight ways depending on how Senator Strom Thurmond), Perle Mesta they were tied at the waist, came in both (noted socialite), Nancy Plessinger (wife of long and short versions, and were made in an President Nixon’s press secretary, Ron endless variety of fabrics. Inspirations for Ziegler), Cathy Douglas (wife of Supreme the design included Claire McCardell’s Court Justice William O. Douglas), Lynda Popover dress and Japanese kimonos.6 The Johnson Robb (daughter of President and comfortable, adaptable design appeared at Lady Bird Johnson), Moya Lear (wife of numerous important events in Washington Lear Jet Corporation founder William Lear), including embassy parties, White House and Princess Lalla Nezha of Morocco. dinners and Kennedy Center award ceremonies. One of the most popular items the shop carried One woman even wore a Frankie made of gray flannel was the Frankie, a versatile dress with a simple paper- to a ball at Versailles, and the mayor of Alexandria’s 27 ORNAMENT 35.1.2011 34_FrankieWelch2_CBJD.indd 27 10/17/11 11:31 AM BETTY FORD SCARF of silk, 1975. Historic Clothing and Textile Collection; Department of Textiles, Merchandising and Interiors; College of Family and Consumer Sciences; University of Georgia. WASHINGTON, DC SCARF (detail) of polyester; 83.8 x 20.3 centimeters, 1969. Frankie Welch collection, Courtesy of Hargrett Rare Book and Manuscript Library/University of Georgia Libraries. daughter, Beth Beatley, wore one in white batiste (tied in the Mrs. Johnson gave the scarves to the attendees of the first back) as her wedding dress, while her bridesmaids wore short fashion show ever held at the White House, a patriotic event Frankies of yellow gingham tied in the front.7 that promoted President Lyndon Johnson’s Discover America In 1967 Welch debuted her first scarf, a project she travel program, highlighted Mrs. Johnson’s roadside and undertook when her friend Virginia Rusk (wife of Secretary of urban beautification efforts, and celebrated the American State Dean Rusk) commissioned her to design something fashion industry. The poster-like quality of the design fit well “truly American” that the White House and the State Department with the travel theme and the scarves figured prominently could use as gifts.8 Welch decided to use Sequoyah’s Cherokee on the runway. syllabary as both a tribute to Dean Rusk’s home state of Georgia Later that same year Welch designed such a renowned and and Welch’s own heritage—she is proudly 1/32nd Cherokee. diverse group of political scarves and outfits that she earned The characters provide an eye-catching graphic and curiosity- the label “political fashion specialist.”11 First she created a scarf raising image laden with historical significance. The scarf came (with blue “H”s on a white background with a green and in both square and rectangular formats and went through over blue border) and an H-line dress (a sleeveless green shift with forty printings and numerous slight design modifications. As a large blue “H” outlined in white rickrack) for Vice President with many of her scarf designs, Welch had yardage printed Hubert Humphrey’s presidential campaign. Welch then, at the so that she could make Frankies from it, and she fashioned it request of Betty Ford, designed a printed fabric used to make into short dresses and pants outfits as well.9 The Cherokee pinafores worn by hostesses during the Republican National Alphabet scarf, which was always her best seller, even sold in Convention.12 It has an allover pattern of daisies in red, blue, the fashionable Le Drugstore in Paris.10 It also served its initial yellow, and green on white, with “Republican National purpose as a diplomatic gift and several were framed and Convention,” “Miami, Florida,” and “August 7, 1968,” subtly hung in United States embassies overseas. incorporated into the design. Welch also created outfits for a In 1968, through contacts with two of the First Lady’s youth group supporting Governor Nelson Rockefeller’s bid secretaries who were customers of Welch’s shop, Liz Carpenter for the Republican presidential nomination, blue and gold and Bess Abell, Welch designed a scarf for Lady Bird Johnson jumpsuits called Happy-Jams worn with rock pendant in red, white and blue with the words “Discover America” on necklaces.13 Completing the election season, she made scarves 28 ORNAMENT 35.1.2011 an abstract silhouette of the continental United States. with the “Forward Together” theme for Richard Nixon’s 34_FrankieWelch2_CBJD.indd 28 10/17/11 11:31 AM inauguration. The professional—and incredibly successful— Welch’s wrote, “[Welch] loved working with such a pretty non-partisanship she displayed set the tone for the rest of logo and hopes you like the design. Her contention is that you her career. won’t be able to sell scarves unless they are fashionable, so The 1968 political season impressed upon Welch the power she incorporated the little flowers and leaves to feminize the of conveying a message through fashion and she discovered overall design.”16 For a particularly individual scarf made in her true calling, as a designer and promoter of signature scarves. this style, commissioned by a man for his wife, Welch included She quickly formalized the custom design process and her the names of the couple’s house, boat and plane, as well as scarf business blossomed.